论清季民国中国绘画史分期的结构、逻辑和旨趣  

On the Period-dividing Logic and structure and Purport of China’s History of Painting in the early stage of 20th century

作　　者：张学峰[1] Zhang Xuefeng

机构地区：[1]安徽师范大学美术学院,安徽芜湖241002

出　　处：《南京艺术学院学报（美术与设计）》2020年第5期24-30,I0002,共8页Journal of Nanjing Arts Institute:Fine Arts & Design

基　　金：国家社会社科基金项目《民国时期中国美术史研究的现代性转化研究》(16BZS085)。

摘　　要：清季民国,中国绘画史分期理论盛行。欧洲学者的民族学分期模式,关注佛教输入。日本学者关注民族-国家叙事,关注近世起点,产生近世衰败和东方特色两种理论。中国学者择取佛教输入和民族-国家叙事,其分期可分成"三古"说和非"三古"说两类,这种模仿与重构,改变了中国绘画史的理论结构和叙事逻辑,满足了他们关注现实和重估历史的愿望,表达了他们在动荡时期,特殊的文化理想和家国情怀,它是现代学术转型的初步尝试。In the early 20 th century, the study of Chinese history of pa inting was do minated by period-history of painting was do minated by period-dividing theories, among which, the perioddividing theory made by Europeans was based on their ethnolo gy, while Japanese scholars laid stress on nation-state narrative and the starting point of modern times, giving birth to theories of Modern Decline and Oriental Traits. By contrast, the perioddividing theories of "San Gu" and "Non-San Gu" proposed by Chinese scholars who selected both Buddhism introduction and nation-state narrative as their research perspectives, can be viewed as a preliminary attempt towards modern academic transition. Such imitation and reconstruction not only changed the theoretical construct and narrative logic of the history of Chinese painting, but also expressed the special cultural ideas and home-state sentiment of Chinese scholars, who were concerned about realities and had a strong desire to reevaluate history during a period of turmoil.

关 键 词：清季民国 中国绘画史 画史分期 “三古”说 民族-国家叙事 

分 类 号：J209[艺术—美术]